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Philip Sidney praised concrete imagery in poetry in his 1595 treatise, Apologie for Poetrie.
A century later, Neoclassical thought tended to value the generality of abstract thought. Eliot added to this school of thought with his theory of the "objective correlative." Contrast with concrete diction / concrete imagery. As the term becomes more widespread, the periods vanish (e.g.
In Shakespeare's Globe Theater, this area contained the lords' rooms, but the center of this location was also used by the actors for short scenes.
On the other hand, in most indoor theaters like the Blackfriars Theater, musicians above the stage would perform in a curtained alcove here. The preference for abstract or concrete imagery varies from century to century.
Acrostics may have first been used as a mnemonic device to aid with oral transmission.
In the Old Testament, some of the Hebrew Psalms include acrostic devices.
In the early 1800s, the Romantic poets like Wordsworth, Coleridge, and Shelley once again preferred concreteness. Hulme attempted to create a theory of concrete poetry. ABSTRACT POEM: Verse that makes little sense grammatically or syntactically but which relies on auditory patterns to create its meaning or poetic effects; Dame Edith Sitwell popularized the term, considering this verse form the equivalent of abstract painting (Deutsche 7). LASER), and eventually the capitalization falls away as the word enters common usage (e.g.
In the 20th century, the distinction between concrete and abstract has been a subject of some debate. Sitwell's poems from her collection ACATALECTIC: A "normal" line of poetry with the expected number of syllables in each line, as opposed to a catalectic line (which is missing an expected syllable) or a hypercatalectic line (which has one or more extra syllables than would normally be expected, perhaps due to anacrusis). ACCENT: (1) A recognizable manner of pronouncing words--often associated with a class, caste, ethnic group, or geographic region. Acronyms and alphabetisms are most useful when they allow a speaker to create a new, short, efficient term for a long unwieldy phrase.
(2) The degree of stress given to a syllable--an important component of meter. The first syllable, which is stressed, "counts" as a full metric foot by itself. Acmeists protested against the mystical tendencies of the Symbolists; they opposed ambiguity in poetry, calling for a return to precise, concrete imagery. Even English historical scholarship has fallen into the habit, commonly referring to the historical Great Vowel Shift as the ACROSTIC: A poem in which the first or last letters of each line vertically form a word, phrase, or sentence.Action, along with dialogue and the characters' thoughts, form the skeleton of a narrative's plot., see discussion under periphrasis.ACYRON: The improper or odd application of a word, such as speaking of "streams of graces" (Shipley 5). ADAPTATION: Taking material from an older source and altering it or updating it in a new genre.Horace coins the phrase in his treatise, Ars Poeticae, a treatise not to be confused with the Poetics of Aristotle. ABLAUT: Jacob Grimm's term for the way in which Old English strong verbs formed their preterites by a vowel change. An example would be the principal parts of Old English strong verbs such as ABOLITIONIST LITERATURE: Literature, poetry, pamphlets, or propaganda written in the nineteenth century for the express purpose of condemning slaveholders, encouraging the release and emancipation of slaves, or abolishing slavery altogether.This literature might take the form of autobiographical writings (in the case of many slave narratives) or fictional accounts such as Stowe's .